Let's talk musically first.
Seaside Overture works well as a tutorial track and does set the mood well.
Heart of the Mountain Town has a really heartwarming start and already, the melody leitmotif is down pat, a continuation of the last track's. As an exploration theme, this sets the tone quite well.
Lumina does convey the theme of yearning; the parts that really stand out to me are the glock and string writing here. For a moment when the luminous soul reaches out to our protag I'd have appreciated something that tugged at the heartstrings a bit more? I think ^_^; Parts of it felt triumphal, dare I say triumphal too early.
Atlantis being the theme for the bottom of the sea, this conveys quite a bit of majesty but not in the way that the bottom of the sea does, at least to many of us. ^_^; This actually gives Age of Empires, it's got that kind of instrumentation and mixing, with added mallets. The emotion I hoped to feel upon discovery of these many soul creatures was one of wonderment, awe, and a tinge of horror, like "...wh... who indeed are you?" It wasn't what the track gave me. Wetter instrumentation for sure, but also I think it has space to communicate cues more.
Empress of the Sea...... now this is imposing from the get-go, it sets the impression early and it sets the impression WELL. I feel like the Empress is staring me down, before the important conversation happens. I can visualise that when the harp kicks in, there is hesitation on the protag's part to ask about the missing child, but they ask anyway.
Onward feels as magical as the text describes. Can I just say that you've got faultless string writing? This one is an absolute joy.
Lunar Eclipse already communicates "battle theme" from the get go. It has some of the instrumentation of Onward, the entire melody is singable and memorable, and Phase 2 does mark a slight shift in tone from Phase 1. Phase 2, I kinda feel could use more high-low differential (what I mean is, you've got those growling basses to communicate the viciousness of this phase... put in those higher strings in parts. We listeners appreciate crash bang wallop, the sense that is given to us from high and low hitting us at once. It's the same kind of satisfaction we get when a bass drum and cymbal sound at the same time. Phase 2, for climax purposes, could certainly use more of that).
Love You, Farewell is a beautifully emotional sendoff track. I did sense a tear or two. The improvised feel of it just brings it all home.
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Outside of what I've mentioned with the tracks, I do echo some of the others' concerns that the mixing is quite thin for what this is. It needs depth, it needs warmth, it needs electricity with the moving of the air, and I'm not getting enough of those.
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Soundtrack is well written, nicely themed, conveys nearly everything you describe very well. Well done, and all the best for this jam!